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1 MUS 130H: the Psychology of Music (ST) Course Syllabus Spring

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1 MUS 130H: the Psychology of Music (ST) Course Syllabus Spring MUS 130H: The Psychology of Music (ST) Course Syllabus Spring, 2015 Course Meeting Time: MWF 12:50-1:50 PM Location: Patterson Hall (PH) 53 Professor: Dr. Daniel Perttu Associate Professor of Music Chair, Department of Music Music Theory/Composition Area Head Office: Patterson Hall Studio E Office Hours: Posted on my board outside of my office door Office Phone: 724-946-7024 E-mail: [email protected] Course Description: This course considers human behavior from both the psychological and musical perspectives. As an Honors course, this class investigates the following topics with more intense rigor and requires students to work more independently on synthesizing and evaluating current knowledge pertaining to the psychology of music. The course explores why music exists, why people listen to music, how people understand music, and how social relationships influence musical tastes. In particular, MUS 130 covers theories on the evolutionary origins of music, musical development, music and the brain, music and emotion, the role of music in our everyday lives, social influences on musical tastes, composers with psychological disorders, and a brief introduction to music therapy. Recognizing that creativity is a crucial component of original thinking not only in music, but in all fields, students will investigate the psychological processes and dynamics of musical creativity. This course is open to all majors across the college and therefore no musical talent or experience is necessary. Course outcomes: Students will gain knowledge of how music is perceived, how music is understood, why emotional reactions to music occur and what causes them, and the psychological factors that affect music performance. Students will understand how social and cultural contexts influence music cognition, emotional responses to music, and social responses to music performance. Students will perceive how individual differences in personality, particularly in the realm of risk tolerance and levels of anxiety, will affect musical preferences. Students will develop critical thinking skills by reading about studies that use the scientific method and empirical research methods. Students will develop oral communication skills by presenting on a topic concerning the scholarly study of creativity and by discussing readings and controversial topics pertaining to the psychology of music in class. 1 Students will develop written communication skills by writing about the aesthetic integrity of various pieces of music, and by designing and analyzing a mock study on a topic of their choice that pertains to the psychology of music Grading: 1. Class Participation (5 percent) 2. Review questions from readings (20 percent) 3. Oral Presentation on excerpt from Creativity: Flow and the Psychology of Discovery and Invention (10 percent) 4. Two midterm exams (10 percent each x 2 = 20 percent total) 5. Paper I (10 percent) 6. Paper II (15 percent) 7. Cumulative Final Exam, but with emphasis on last portion of course (20 percent) Grading Scale: Grading Scale: 93-100 A 73-76 C 90-92 A- 70-72 C- 87-89 B+ 67-69 D+ 83-86 B 63-66 D 80-82 B- 60-62 D- 77-79 C+ Below 60 F Note on due dates and late work: All written assignments are due at the beginning of the class period, or on my.westminster as directed, unless I say otherwise. Late assignments are not accepted, unless the student has missed class due to an excused absence. In addition, homework assignments will not be accepted after class. Likewise, a missed test will count as a zero percent, unless the student has missed due to an excused absence. This course follows the policy regarding exams and excused absences that is outlined in the Westminster College Undergraduate Catalogue. Textbooks: To Be Purchased: Csikszentmihalyi, Mihaly. Creativity: Flow and the Psychology of Discovery and Invention. New York: HarperCollins, 1996. Thompson, William Forde. Music, Thought, and Feeling: Understanding the Psychology of Music, 2nd Edition. New York: Oxford University Press, 2009. On Reserve in Music Library: Hallam, Susan, et al. The Oxford Handbook of Music Psychology. New York: Oxford University Press, 2009. 2 Attendance Policy: The attendance policy in this course follows the College policy, which is outlined in the Westminster College Undergraduate Catalogue. Students are expected to attend all classes. Research has shown that performing well in a course is associated with high attendance. Students should be aware that “showing up” is highly valued not only in this course and College, but in the workforce and society in general. I will not accept any assignments from students who have missed class due to an unexcused absence. In addition, I will not re-teach—either in class or during office hours—material missed due to an unexcused absence. I may excuse absences for the following reasons: course-related field trips; illness that is documented by a doctor’s note (not including the “self-reported sick in room” notice from the Student Health Center); death or serious illness in the immediate family as is verified by someone other than the student; appearance in court; co-curricular and extracurricular activities recognized and/or sponsored by the College; or another extraordinary reason as deemed appropriate by me. Students must make arrangements with me regarding the completion of missed work from excused absences. E-mail and Computer Use: I will be e-mailing students in the course critical information and will also be posting important files to network accounts. This course will also use the my.westminster Learning Management System (LMS). Students are required to use the Westminster.edu e-mail account and the LMS. In addition, students are required to check e-mail with reasonable frequency, typically every day, as important course updates may occur via e-mail rather than in class, in an effort to preserve valuable class time. If e-mail accounts are too full or over quota, I will not resend e-mails; students are required to monitor the quotas on their accounts. Academic Honesty: I use TurnItIn.com to check papers for plagiarism if I suspect any. In addition, the standards in this course conform to the College’s policy, which states: “Academic dishonesty is a profound violation of the expected code of behavior. It can take several forms including, but not limited to, plagiarism, cheating, misrepresentation of facts or experimental results, unauthorized use of or intentional intrusion into another’s computer files and/or programs, intentional damage to a computer system, and unauthorized use of library materials and privileges. Academic dishonesty in any of these forms will not be tolerated. Students who engage in academic dishonesty face penalties such as failure in the course involved or expulsion from the College. All instances of academic dishonesty will be reported to the Dean of the College.” Student Support Services and Special Accommodations: Students who have special needs that may affect their academic or personal life should seek resources on campus to assist them, such as Disability Support, the Learning Center, Diversity Services, and Library Instruction. In this course, accommodations consistent with college policy will be made for students who are utilizing appropriate support services. After consulting with the appropriate support service, students are encouraged to speak with me in a confidential appointment about necessary accommodations. Note on Cellphone Use: Cellphones must be silenced during class. 3 TENTATIVE SCHEDULE OF TOPICS AND ASSIGNMENTS (subject to change): NOTE: TH refers to readings from the Thompson textbook (purchased), and HA refers to readings from the Hallam textbook (on reserve in music library). Week 1: 1/12-1/16 The Origins and Functions of Music Music and evolution o TH pp. 18-34 (including all of p. 34) Universals in music processing o TH pp. 77-85 Discussion of implications for aesthetic evaluations o HA pp. 151-157 Week 2: 1/21-1-23 NO CLASS on 1/19 (Martin Luther King Day) The Origins and Functions of Music (cont.) Music and meaning o HA pp. 24-32 Cross-cultural studies of social and personal functions of music o HA pp. 35-42 Week 3: 1/26-1/30 Musical Development Overview of neuroanatomy and neurophysiology relevant to music psychology o TH pp. 134-140 Prenatal development o TH pp. 108-111 Studies of infants o TH pp. 111-119 Week 4: 2/2-2/6 Musical Development (cont.) Studies of children and the effects of music instruction on other skills o HA pp. 235-239; TH pp. 303-324 o Also, you may read TH pp. 296-303 for additional information on the “Mozart Effect,” but this is not required Music and adolescence MIDTERM 1 on Friday, 2/6 Week 5: 2/9-2/13 Music Perception, Cognition, and Memory Neurobiological foundations of music cognition Perception of pitch o TH pp. 46-62 Perception of timbre 4 o TH pp. 64-71 Week 6: 2/16-2/20 Music Perception, Cognition, and Memory (cont.) Perception of musical time o TH pp. 95-105; do not read “Rhythm in Music and Speech” yet Components of melodic processing o TH pp. 119-128 Music and language o TH p. 105 “Rhythm in Music and Speech” Week 7: 2/23-2/27 Music Perception, Cognition, and Memory (cont.) Music and memory; memorization o HA pp. 107-115; HA pp. 352-357 Music and brain plasticity o HA pp. 197-205 PAPER I DUE on 2/27 Week 8: 3/2-3/6 Musical Learning and Intelligence Musical potential and practicing o TH pp. 238-239 Motivation for musical learning and family support o HA pp. 285-292 Musical performance o TH pp. 240-242; TH pp. 265-266 March 9 through March 15: Spring Break; No Classes Week 9: 3/16-3/20 Musical Learning, Intelligence, and Creativity (cont.) Anxiety and musical performance o HA pp.
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